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By the time this album was released, Antonio Carlos Jobim was already an international superstar. Having recently won a Grammy (1965) for "The Girl From Ipanema", by 1967 all the big name stars from up north were breaking down his door to work with the new "Gershwin of Brazil." In fact, Jobim had just finished working on an album with Frank Sinatra when he went into the studio to record this album. Recorded in 1967, Wave is actually one of the lesser known masterpieces of Brazilian music, and undoubtedly one of Jobim's greatest. Here Jobimand the great Claus Ogerman lead a top-flight cast on hidden classics like Batidinha, Triste and Wave. Includes bonus CD of entire album.

From Philadelphia beatmaker Knxwledge has been bubbling beneath the surface in the virtual world. Making his name via Myspace, global mixes spinning around the world and with a Mary Anne Hobbs mix & plays from Benji B already under his belt hes ready to step up to the plate in 2010 with his first solo release. 15 tracks here of varying rhythmic structures, lengths and speeds which go way further than mere beats and snippets. Sloppy, on beat and off its all thrown in the beat blender. Tip!

Ian Finkelstein is a jazz pianist and producer. He has been an active member of the Detroit jazz community since the age of 14. A student of Geri Allen, he performed with Marcus Belgrave from 2010 until Belgrave's death in 2015. He currently performs with the Robert Hurst Quintet, and is a founding member of Detroit music collective Video7. Ian self-released his first album of house music It's Time in 2016. His keyboard work can be heard on tracks by Scott Grooves, Omar-S and Shigeto among others. He is a regular member of Scott Grooves' Overdubs. Middle Birth EP highlights Ian's dual talents as a producer and instrumentalist. Side A features two electronic cuts, Middle Birth' and Mort Crim' with Ian playing live drums and bass on the latter. SIDE B showcases Ian's jazz quartet, he is joined by several of Detroit's most talented young musicians: Marcus Elliot on sax, Ben Rolston on bass and Alex White on drums.

Includes a download card to WAV files of the entire album and a digital booklet.
World's Experience Orchestra's first album was recorded in and around Boston, in the mid 1970s and committed to vinyl in miniscule press runs by a visionary, bassist/ composer / arranger John Jamyll Jones. Jones is a magical type, who communicates with his instrument, his ensembles, and jazz's ancient lineage in a manner so profound that his late-'70s album are out of time with jazz's trajectory, but timeless when presented today. By the late '90s the music of World's Experience Orchestra was circulating throughout the collections of esoteric jazz fans, the likes of Gerald Jazzman' Short and Gilles Peterson, who played The Prayer' for those, the Coltrane-enthralled searching for something new, something different. Something spiritual and honest. Peterson first offered to reissue The Prayer,' as part of an anthology he was putting together with Los Angeles reissue label Ubiquity Records and that, to date, is the only official issue of any of Jones' music. I knew it was going to happen, but I didn't know when,' says Jones of the road to seeing his music re-issued. It's 35 years or more now, and I've been waiting for this, and I'm quite sure I'm not the only one.'

2017 Remastered and fully authorized edition !
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On the original 1965 The Magic City LP, issued on Saturn, the monster 27-1/2 minute title track sprawled across side A. Ra customarily supervised the Arkestra's improvisational process via keyboard cues or hand signals. He was always in charge—hence critic Simon Adams describing the title track as "27 minutes of controlled freedom." "The Magic City" was never performed in concert, saxophonist John Gilmore said it was "unreproducible, a tapestry of sound." Although shorter in scope than side A's magnum opus, the four works on The Magic City's flip side reflect the same improvisational approach, spatiality, and lack of structure.
One session outtake, "Other Worlds," an alternate version
of "Shadow World," is included as a bonus track on side B.
First-generation Saturn pressings of The Magic City were monophonic. A full stereo version had been issued on Sun Ra's Thoth subsidiary label sometime after 1969, however, it suffered from a technical flaw that prevented many copies of the LP from tracking cleanly through the first cut on side B. A 1973 gatefold LP reissue on Impulse featured reprocessed stereo. For this definitive reissue, Cosmic Myth Records used stereo sources which are superior to the Thoth pressing.

For this definitive edition, historical and technical notes are provided by noted jazz historian Ben Young, who restored and remastered the album with his Triple Point Records partner Joe Lizzi. Both men have been recognized for their extensive work on the Grammy Nominated Albert Ayler boxset, released on Revenant records in 2005.

Cosmic Myth Records issues recordings under license from Sun Ra LLC. The series is being co-produced and supervised by Irwin Chusid (Raymond Scott, Esquivel, Langley School Music Project) and Michael D. Anderson, who maintains the Sun Ra Music
Archive, the world's foremost collection of original Ra session masters.

Collecting recordings made between 1953 and 1956, Miles Davis Plays For Lovers is a look at the more sensitive and sensual side of the great trumpeter, focusing on his sultry and smoky late night ballads. Mostly featuring his legendary mid-50s quintet of Coltrane, Garland, Chambers, and Jones, this collection highlights that groups ability to slow things down to a soulful, brilliant simmer. Classic jazz ballads that swing, perfect for late nights with a lover at your side.

Jazz classic alert! Reissue from this soul/jazz-funk fusion album originally released in 1982 on Poet Records. 500 copy LTD edition!

Soul Jazz Records' new album features the truly intense, hypnotic and fascinating Vodou drums of Haiti, a stunning collection of trance-like rhythms and beats traditionally used to induce spirit
possession in the Vodou religion.
Soul Jazz Records first journeyed to Haiti in 1996 to record a series of three albums about Haitian Vodou music and culture. One of these, 'Voodoo Drums', featuring the drum rhythms used to bring about spirit possession, struck a striking chord with listeners and amazingly went on to become one of their best-selling albums. "I haven't heard anything quite like this, the rhythms are very deeply orchestrated yet it also sounds
like improvisation. There are tonalities and textures coming from this album like I've never heard. A great album by Soul Jazz, very well recorded. Some of the sounds I have no idea how they are getting them! This album is bending my ear and setting off the dancing devils in my soul!! Unreal!"
Guardian In 2016 Soul Jazz Records returned to Haiti once more to record a new second volume of the same intense Vodou drumming. Recorded in the capital of Port-au-Prince, Haiti, some 20 years after their first visit, this album also features the very same musicians, the Drummers of the Société Absolument Guinin. "This record, which consists entirely of recordings of vodou drumming made in Port-Au-Prince, is one of a series of Soul Jazz releases exploring Haitian music, all of which are worth your attention. Nonetheless there's something about the intensity and virtuosity of this particular drums-based album that's particularly transportive. It captures the extraordinary complexity and sophistication of these ceremonial rhythms, which shift, interlock and switch angle of attack with a logic that's near-indecipherable as a listener unable to see visually how they unfold.
These drum rituals are central to Haitian vodou, their power to awe and mesmerise isn't dimmed through being relatively unfamiliar with the traditions that underlie them, these recordings are dynamic and riveting in their intricacy and power." Quietus
Like the first album, these new recordings somehow manage to walk the line between serious ethnological authenticity and a connection with the energy and intensity of the dance rhythms of
techno and house music that make them quite unique:
"Soul Jazz yet again come correct with the roots and culture. This amazing set of ritual breakbeats Haitian style has to be the most phenomenal, left field battle breaks album you could imagine. The rhythms used cause spirits to manifest themselves in the physical world, all powerful, some benevolent, others less so. Enjoyable and really quite mind expanding, this is recommended to
anyone who thinks traditional music is not for them. Really unparallelled, both in terms of quality and the competition." Boomkat
This album is released worldwide on heavyweight double LP + download code, deluxe CD and digital album.

Drummer/producer Teppo Mäkynen (of Teddy's West Coasters, The Stance Brothers, The Five Corners Quintet) presents his new major work during the fall of 2017. 3TM is a trio formation including Mäkynen, tenor sax man Jussi Kannaste and bassist Antti Lötjönen. Mäkynen, manning the drum seat in the combo, is using samples and sounds here to break off from the standard aural image of the jazz trio. What we have instead, is a new world of sound rooted somewhere in between acoustic jazz and abstract electronic music, blurring the lines of genre and time.

The CD and 2LP editions of the album include a source book featuring photos taken by Mäkynen. These images serve as the visual roadmap into the world of 3TM, at times abstract and spacious, at times intense and swinging.

Tape version comes with digital download.

Drummer/producer Teppo Mäkynen (of Teddy's West Coasters, The Stance Brothers, The Five Corners Quintet) presents his new major work during the fall of 2017. 3TM is a trio formation including Mäkynen, tenor sax man Jussi Kannaste and bassist Antti Lötjönen. Mäkynen, manning the drum seat in the combo, is using samples and sounds here to break off from the standard aural image of the jazz trio. What we have instead, is a new world of sound rooted somewhere in between acoustic jazz and abstract electronic music, blurring the lines of genre and time.

The 180g heavyweight 2LP version of the album comes with gatefold sleeve, digital download and 12" source book featuring photography by Teppo Mäkynen. These images serve as the visual roadmap into the world of 3TM, at times abstract and spacious, at times intense and swinging.

Maestro Bruno Zambrini's soundtrack masterpiece originally recorded for the the TV series "RACCONTI DI MARE" in 1970, directed by Nestore Ungaro. Mental Vintage Underwater Score, one of the best from Library/Soundtrack music production. Music is a total trip with insane Psychedelic and Underground beats to die for, killer drum breaks, acquatic Lounge & Bossa themes and huge Underwater drama moods. The loungy atmospheres remind of sea trips nostalgia with the flowing sweet scat vocals broken by the spaced-out Underwater marine vibes. Unmissable Italian OST!

Taking a tiny break from the vintage sounds of his stunning La Sombra album, Chip Wickham lets his hair hang down with surefire floor filler 'The Beatnik'. Funky wah-wah guitar licks, an uptempo breakbeat and his signature transverse flute give the tune an impetuous feel - the perfect soundtrack for a high-speed car chase.
The flipside is not quite as stormy. In fact, 'Rebel No.23' is a return to the jazz grooves of his debut album, or indeed a taste of what's to come on his followup album, slated for release in 2018.

Following on from our extremely well received re-press of Pasteur Lappe's second album "Na Man Pass Man" here at Africa Seven we are really pleased to be heading back to the beginning with Pasteur. It is a another fine repress. The debut album "We, The People".

The story begins in the 60's with a charming 19 year old Nicolas "Pasteur" Lappe becoming a sensation on Radio Adele in Douala, Cameroun. He goes on to become the editor of the Douala Gazette newspaper and become friends with other African music stars such as Tala AM, J Moboule and Fela Kuti. He also works tirelessly promoting new and upcoming local Cameroonian talent. After moving to Paris, a stint in journalism school and publishing a book of poems "Chansons Negres" he finally settles into a new life of music in Paris.

Pasteur's first album was recorded in 1979 with the backing band and production collective called the Zulu Gang, which include Douglas Mbida (who went on to release several top flight albums himself) and Jacob Desvariaux (who went on to form Kassav). The album is full of diverse sounds, from driving funk, sweeping disco grooves, syrupy ballads, reggae, Jackson-five-esque pop to finger-lickin' soul. At its core though is the custom "Sekele" groove... a movement to encompass the dance, grooves and vibes from his native Douala.

The album opens with the pulsing grooves of "More Sekele Movement" which features driving bass groove, snappy percussion and catchy vocal lines from our hero. "Dora" is next. It is a sparkly Afro pop gem with stabby horns and a smooth catchy melody.

Things take a slow route for the next track - "Watch Get My Day Dreams" which is a slow smooth vocal number. Lazy Rhodes and a end-of-the-disco sway. It also features Maryse Lappe guesting on vocals. Things heat up on the flip with "Sekelimania (Nku Bilam)" bringing back the funk. Choppy guitar riffs, percussive clavinet and top-of-the-world horns power this smooth power funk along.

Next "The Sekele Movement" keeps the horn department busy with its Afro swing drums, walking bass lines and funky keys. This track was featured on the recent Analog Africa - "Pop Makossa" compilation. A real find. The album closes with a slow and forlorn love song. A partly spoken, partly sung love song which talks of separation and longing. The perfect thoughtful ending to a fine LP.

The nostalgic poet, with Africa at his essence Pasteur Lappe.

(2017 REPRESS/REMASTERED)

A Tribute To Sun Ra" & "Latino In Cairo". This record represents The Cairo Jazz Band responding to the American Jazz scene of the 60s & 70s with influences from Mongo Santamaria to Randy Weston and Sun Ra. These tracks were first presented by The Ministry Of Culture in Cairo as a Prism Music Production and released with an additional disk by the composer Soliman Gamil Musical Images. This release marks the first time Salah Ragab and The Cairo Jazz Bands definitive works are presented to the west. Salah Rageb R.I.P

A follow up to their 2015 debut with Ninja Tune, Richard and Sheila Ellis' sophomore effort, The Cleansing,' exists in the folds, shaking the categorization of a single genre or label by casting echoes of Billie Holiday and Antonio Carlos Jobim atop opaque shades of Debussy and Edgar Allen Poe. Elements of Jazz and Bossa Nova, accented by striking vocals and enigmatic spoken-word poetry, display a command of the power of contrast. Steady repetitiveness of the instrumentations throughout the record anchor haunting, and often winding, vocal melodies, lyrical themes revolve around both optimistic abstraction and stark reality. These juxtapositions are reinforced by the dual nature of the album itself: Side A, Shades of Reverie, is driven by a sense of hope plucked into existence by embers of acoustic guitar, while Side B, Tones of Clarity, is best defined by dramatic, Bernard Hermann-esque orchestration and soaring vocal performances. While the casual listener may be (understandably) distracted by the graceful marriage between instrumentation and vocal cadence, each song holds its own poetic merit. Singer and lyricist Sheila Ellis' masterful penmanship develops a crucial dimension to the album, rendering Cleansing' a deeply personal, outwardly introspective listen. Spanning thirty-eight minutes over eight compositions, the entire record is a warm, bold stroke on an aural canvas, effortlessly moving through embracing melodies and divine soundscapes.

1956's Pithecanthropus Erectus is the Charles Mingus record where he really begins to take hold of his own personal vision of how jazz music could look. After cutting his teeth on the L.A. scene and touring with Louis Armstrong and Lionel Hampton, Mingus moved to New York, began Debut Records with Max Roach, and entered into the most productive and creative decade of his career. This album is held in the same esteem as Mingus Ah-Um and The Black Saint And The Sinner Lady among jazz aficionados, and one need listen no further than the 10 minute title track, a tone poem about the rise and fall of man which includes one of the earliest free jazz / improvisation segments put to tape. Absolutely essential jazz from the late great Charles Mingus on Wax Love.

MAGMA, one of the most influential of all French bands, will release the Retrospektï 3xLP collection, including Retrospektï Volume I & II and Retrospektï Volume III via Southern Lord .

The collection will be made available as a limited pressing of 1500 hand-numbered copies, remastered by Brad Boatright, including original artwork by Eva Nahon, also including the classic comic strip by Solé, Dister, and Gotlib depicting MAGMA's trials and tribulations.
 
The first ten years of MAGMA were celebrated on three memorable evenings in June 1980 at the Olympia theatre in Paris. This retrospective, reuniting most of the musicians who had performed in the group, was issued as two albums, the Retrospektï I & II double-LP and Retrospektï III LP. Issued first, Retrospektï III comprises three titles. "Retrovision" is a long piece in the style of the album Attahk, in which the vocalists Stella Vander, Guy Khalifa, and Maria Popkiewicz turn in a blazing performance over a driving rhythm section. There is a supercharged version of "Hhai," in which the trio of Lockwood, Paganotti, and Widemann works miracles. And finally, "La Dawotsin," where, in a more muted register, the voice of Christian Vander triumphs through its mastery and profound sensibility.

Recorded, like Retrospektï III, during the soirees at Olympia in June 1980, Retrospektï I & II is an absolutely fundamental album in which "Theusz Hamtaahk" -- the first movement of the trilogy of the same name -- is presented for the first time. The second and third movements, "Wurdah Itah" and "Mekanik Destruktiw Komandoh," were of course already well known. Although played in concert since 1974, Christian Vander had waited for years before recording it for posterity as he wanted every note to be as beautiful, magical, essential and definitive as possible. It is with the same respect for his music that he releases here the most successful version of "Mekanik Destruktiw Komandoh," considered outstanding on account of two incredible improvisation from Bernard Paganotti and Didier Lockwood. Klaus Blasquiz, who did not perform on Retrospektï III, is the lead vocalist on this version - and justifiably so, since he was indeed the MAGMA singer who first sang these two masterworks.
 
There's no doubt about it, MAGMA has left a legacy of music that defies any of the standard and convenient classifications of rock, operating instead in a realm of their own creation. Southern Lord looks forward to being part of their ever-evolving story...

Link available on request OVERVIEW: Recorded on September 10, 1964, prior to his well-known association with John Coltrane, this eponymous album (later renamed Pharoah's First) is the debut release of the iconic tenor saxophonist.(Yes, there are some spelling oddities here: the artist -- birth name Ferrell -- only later changed the spelling from the standard Pharaoh to the more personalized Pharoah.)With one foot in mainstream jazz -- pianist Jane Getz had played with Charles Mingus -- and the other, tentatively at times, in the avant-garde, this is a fascinating glimpse of Sanders's style before he wielded the unremitting fierceness of his playing with Coltrane and the modal mysticism of his later solo albums on Impulse. Interestingly, in recent years he has deployed a more polished version of this sort of vant-flavored bop, bringing his career full circle and strongly suggesting that the hybrid heard here was not due to any failure of nerve on his debut but rather was the cornerstone of his conception.ESP-Disk' has issued this album under three different covers, for its 21st-century reissue on vinyl, we have chosen to use the second and most beautiful. It is augmented with liner notes by a current ESP-Disk' artist, tenor saxophonist Ras Moshe Burnett of The Red Microphone, who can be hear accompanying Amina Baraka on their eponymous 2017 release (ESP5021).

Beloved DJ, compiler and incurable vinyl junkie, Kev Beadle returns to BBE with a 3rd volume of his much lauded 'Private Collection' album series. Taking in a wide range of obscure jazz with a distinct nod to the dance-foor, the frst two 'Private Collections' are already considered classics by the jazz-dance community. Once again presenting a wealth of ultrarare sounds previously only available to record collectors with very deep pockets, Vol.3 sees Kev inviting us to travel even deeper into the vinyl vaults

Electric City is quite a mixed bag, a batch of vocal tunes sports the album's most overtly rock-oriented, groove-based arrangements, and vocals by Downes himself. To say that Downes' vocal gifts are not on par with his head-turning instrumental talents would be putting it kindly, but there are plenty of other sides to this outing. Such tunes as "Crush Hour" and "Dawn Until Dawn" bear heads that show the influence of '60s post-bop jazz, interwoven with modal improv sections bordering on free-blowing freakouts.

Mingus at the Bohemia fixed a moment in time where Mingus found his musical identity. The concert was recorded at Café Bohemia in New York on December 23, 1955, and Mingus' group featured the great Max Roach as a special guest. Further recordings from the long date were released under the title The Charles Mingus Quintet & Max Roach, while some others appeared in compilation sets. Only one song with Roach was included on Mingus at the Bohemia, but it is the most important one, consisting of a unique duet between the drummer and the bassist: Percussion Discussion'. Apparently Mingus added a piccolo bass part to this one in the studio. Septemberly' is a fusion of two songs: September in the Rain' goes over into a romantic Tenderly'. The last song is the standard All the Things You Are' blended with Sergei Rachmaninoff 's Prelude in C sharp minor'. The Work Song' included here is a Mingus composition, not to be confused with the better known homonymous Nat Adderley song.

Jimmy Witherspoon was a singer and songwriter who regularly defied rote categorization. The rudiments of his vocal approach were based primarily on the blues. However, over a career that spanned five decades he sang in a range of styles that ran the gamut from R&B and gospel to pop. His deep and mellow voice and impeccable taste also made him a successful jazzblues crossover artist. More than any other male singer, Witherspoon straddled the line between blues and jazz, becoming an integral participant in the history of both of these classic genres of American music.

This essential LP edition includes the blues giant's sensational live album, At The Monterey Jazz Festival, which was originally released in 1959 on the HiFi Jazz label. This long play is filled with superb tracks featuring tremendous solos and great accompaniment by Coleman Hawkins, Ben Webster, Roy
Eldridge, Woody Herman and Earl Hines, among others. During the course of the set Jimmy Witherspoon sang at Monterey', recalled journalist Ralph J.
Gleason, there were many moments that remain in my memory. Most of them are on this album. For instance, there's the great introduction Earl Hines plays on 'Ain't Nobody's Business' ...Roy Eldridge's meted trumpet on the same tune ...'Spoon crooning 'rain, rain' later in the song and then Ben Webster's
magnificent solo. Ben started to blow that solo and a thrill ran through the audience.'

Over the course of his career, Ray Barretto had worked alongside Dizzy Gillespie, Tito Puente, Celia Cruz, Wes Montgomery, and even the Bee Gees among others, earned a legendary reputation among the jazz music scene, and the title of Godfather of Latin Jazz. When one listens to his 1968 album Acid it's not hard to understand why. The album features eight selections of Barretto's finest, which formed a unique hybrid of jazz and Latin sounds, from the frantic salsa of "El Nuevo Barretto", to soul-crossover tracks like "A Deeper Shade Of Soul" or "Teacher Of Love." The song "Mercy, Mercy, Baby" would also be notably sampled on Group Home's remix of "Good Life" by Pete Rock & C.L. Smooth in 1991. A high reccomendation for fans and collectors of the classic Latin sounds of the 60s.

Burt Bacharach was called the greatest living composer' by the Grammy panel that gave him a lifetime achievement award in 2008. He has enjoyed major hits in a variety of musical genres, including Top-40, pop, soul, R&B, jazz, country, and movie soundtracks. He has also collaborated with a host of major lyricists, including Hal David and Bob Hilliard.

On a list of post-1956 songwriters, Bacharach has had 133 hits and ranks No. 6 - right after Paul McCartney, John Lennon, and the Motown team of Lamont Dozier, Brian Holland and Edward Holland, Jr. Put in perspective, Bacharach is a direct link to the great composers of the '30s and '40s - and author of the American Songbook's final chapter. This splendid LP edition presents Burt Bacharach's most essential and enduring works from the beginning of his career, gathering a variety of the great sides he composed (and in several cases, also arranged) for different labels, between 1955 and 1962. Included here are classics like Dionne Warwick's Don't Make Me Over,' Gene Pitney's Only Love Can Break a Heart,' Tommy Hunt's I Just Don't Know What to Do with Myself,' and The Shirelles' Baby It's You,' to name a few. Our release also contains lesser-heard tracks, which are just as enjoyable as the hits, such as Jimmy Radcliffe's Long After Tonight Is All Over,' and Jack Jones' Dreamin' All the Time,' as well as Bacharach himself at the piano performing Rosanne'.

Marcel is at home in the Cuban tradition, but he is also a vibrant
improviser in modern jazz as a member of saxophonist David Murray's group. With the addition of Swedish sax player Karl- Martin Almqvist - a member of the Danish Radio Big Band - Blanco y Negro was reborn. The new Blanco y Negro features the original rhythm section: Jonas Johansen is one of Denmark's leading drummers. He has appeared on more than 170 albums, and he has performed with a long list of international stars including Mike Stern, Steve Swallow and Eliane Elias. Eliel Lazo is word- renowned for his conga playing (Herbie Hancock, the Danish Radio Big Band, Savage Rose, Wayne Shorter),
and Cuban Yasser Morejon is a very popular bassist in many varying contexts. This powerful ensemble plays with an international sound inspired by the heritage of its members - Denmark, Sweden and Cuba - as well as the many places they have travelled digesting the local music.

180gr) Edition of 500 copies, includes a post card and an insert with liner notes. Rare 1973 Freddie Hubbard Quintet concert from a rural church released on vinyl for the first time. Liner notes by Gilles Peterson & Peter Anthonissen.



Previously unreleased live recordings, recorded by Belgian Radio and Television (BRT) on a cold night in the church of Our Lady Queen in the small Heist-op-den-Berg hamlet of Zonderschot in 1973. The concert was organised by Juul Anthonissen, the owner of Hnita-Jazz Club.



Personnel

Freddie Hubbard: trumpet

Herman 'Junior' Cook: tenor sax & flute

Kent Brinkley: bass

George Cables: electric piano

Michael Carvin: percussion



Recorded by National Belgian Radio & Television Broadcast Service (BRT) in 1973

Mastered by Gert Van Hoof

Cut by Dubplates & Mastering

Lay out by Jef Cuypers

In the late 1950s, it was common for big labels to record performances simultaneously in Mono and Stereo, and then release both versions at the same time, with different reference numbers. This was explained at the time by the fact that Stereo was still a very recent innovation, and not everyone had sound systems capable of reproducing the new technology. The Stereo
albums were slightly more expensive than their Monocounterparts. Over time, the Mono versions were condemned to oblivion, and only recently some music fans began to value these long forgotten masters, which capture classic performances from a different aural point of view.

Oliver Edward Nelson was born in St. Louis, Missouri on June 4, 1932. A talented jazz saxophonist, clarinetist, arranger and composer, Nelson came from a musical family (his brother was also a saxophonist who played with Cootie Williams in the 1940s, and his sister sang and played piano). He played tenor saxophone with Quincy Jones from 1960 to 1961, both in the U.S. and on tour in Europe. After recording six albums as a leader for the Prestige label between 1959 and 1961 (with such outstanding musicians as Kenny Dorham, Johnny Smith, Eric Dolphy, Roy Haynes, King Curtis and Jimmy Forrest), Nelson recorded his breakthrough LP The Blues and the Abstract Truth, on Impulse!
The album featured jazz luminaries Freddie Hubbard, Eric Dolphy, Bill Evans, Paul Chambers and Roy Haynes, and contained the tune Stolen Moments,' now considered a standard. In fact, it had already been recorded by Nelson the previous year as The Stolen Moment' on an album by the Eddie Lockjaw'
Davis big band titled Trane Whistle. Curiously, this early version (added here as a bonus track at the end of the Stereo version) also featured Eric Dolphy and Roy Haynes, as well as George Barrow, who played tenor sax and flute instead of baritone sax.

DREAMS is Eeg's ninth album as a leader. Her last album, the critically acclaimed and award-winning Eeg-Fonnesbæk, a duo project fea- turing only vocals and bass, was her first album distributed in the U.S. On DREAMS, she's once again joined by
her longtime collaborator Christoffersen, with the rest of the ensemble comprising some of the most respected names on the U.S. jazz scene today. Eeg first met drum- mer Joey Baron, who has played with a Who's Who of jazz greats, when he gave a master class at The Danish National Academy of Music in 2002. Larry Koonse is a widely respected L.A.-based guitarist whom Eeg met on a gig in Japan around five years ago. The two beca- me friends and musical compatriots, and Eeg has since performed with him numerous times in Europe and Asia, as well as
around the States.
Eeg was thrilled to have Scott Colley in the band. She has been a fan of the bassist for many years. Not only has he been a sideman with many well-known headliners, he's also childhood friends with Koonse. According to Eeg, It's important to perform with great musicians, but it's also important to perform with people you genuinely like. I find it essential to have a good rapport with the band, as I do with the guys on this CD. Musicians can have a lot of ego, which can make the music suffer, but when you genuinely like each other, it's easier to listen to one another as co-equals.
You can drop your ego, immerse yourself in the song, and allow the music to speak through you. It's almost like meditating.'

Tom Rogerson's life as an improviser began when, as a toddler, he would clamber up onto his family piano stool and try to emulate his sister's playing. Now releasing his second solo album, a collaboration with legend of future-thinking music Brian Eno, he feels that his musical life has come full circle: I remember smashing out C Major chords again and again and really loving it. It's the same as what I do now, funnily enough, I've come back to it.'

After stints playing jazz in New York, a delipidated fenland hotel and in noise rock band Three Trapped Tigers, Rogerson ran into Eno at a gig. Bonding over a love of the countryside of their Suffolk home, the pair entered the studio and worked with The Piano Bar, a device that converted the sound of the piano into midi signals, which were then further manipulated. It was this classic Eno, almost scientific thing,' Rogerson says now. He always finds a system that can be a source of creativity.'

The result is an album that uses Eno's magic to pull deep from Rogerson's subconscious to evoke the strange flat landscape of Eastern England, all heathland, military testing sites and estuary mud. I do totally hear it, I'll listen and think, 'oh that sounds like the bells at Woodbridge, that's the birds, the wind rustling in the reeds,'' Rogerson says. I think it permeates my music, and Brian's ambient records. That 'is it organic or is it electronic thing' is so interesting.'

Favorite Recordings proudly presents Le Premier Disco Sans Toi, new single EP by Andre Solomko, pursuing a collaboration that started more than 5 years ago.

Born in Ukraine in 1965 and now based in Finland, Andre Solomko is primarily a rich and engaging personality, but above all, a brilliant saxophonist, composer and engineer, whose contagious passion cannot leave anyone indifferent. After beginning a meteoric career in USSR, fate led him to Finland, where he started the adventure Vinyl Jam, a label / studio /
group. It resulted in two self-produced albums that will capture the attention of some international collectors, including Pascal Rioux (founder of Favorite Recordings). Between 2012 and 2014, they released 2 albums together, Où es-tu maintenant and Le Polaroid, hailed by many tastemakers and meeting notable success in Japan.
This new single also results from a long and solid partnership, led by a shared and deep passion for analog music and vintage grooves. Announcing a new album planned for 2018, the EP unveils two new compositions with Disco flavors. Andre's backed again by a team of great musicians and vocalists, such as Mr Day and Lili Wagner on Le Premier Disco Sans Toi' (The First Disco without You), or Charlotta Kerbs on Moonbeach Disco'. And if
not really the first, this Disco journey fits perfectly with Andre Solomko's Jazz-Funk style and sense of melody, showing another facet of his many talents.

Recorded live at Abbey Road Studios, London Dec 2 2015. 

Hidden Orchestra's 'Dawn Chorus Remixes' follows the illuminating 'Dawn Chorus' album, reworking producer and composer Joe Acheson's latest album of immersive field recordings and expansive soundscapes into an journey through electronica, deep house and ambient psychedelia. Fronted by Wingbeats (Max Cooper Remix)', 'Dawn Chorus Remixes' features reworkings from Max Cooper, Matthew Herbert, Throwing Snow, The Physics House Band, Nuage, Floex, Nostalgia 77, Wrongtom and Skalpel.

Built around a collection of birdsong and other field recordings captured over many years across diverse locations around the UK and abroad, the snapshots within 'Dawn Chorus' intertwine for a transporting listen. The 'Dawn Chorus Remixes' album revisits this vast source material, reinterpreting the structure of the tracks and uncovering new layers of hidden sounds and instruments for the listeners, sometimes unearthing entire musical progressions that bring the tracks into clearer focus.

Max Cooper provides his take on Wingbeats, focussing on the synchronised recordings of birds beating their wings, to reveal a beautiful chord structure hidden amongst the rhythms. Matthew Herbert applies intricate electronic components with a purist house beat on Stone' which follows into The Lizard', remixed by Polish duo Skalpel who were an early influence of Acheson's. Electronic producer Floex transforms 'Still' with layers of oscillating synths, while Wrongtom provides a dub remix and The Physics House Band deliver ambient and progressive sounds for their rework of Long Orchard'.

Key Marketing Points:
- Remixes from high profile acts such as Max Cooper, Matthew Herbert, Floex, Throwing Snow, The Physics House Band, Skalpel and more.
- Available on 2x LP, housed in reverse board sleeve with silver embossed foil title and printed inner-sleeves. Cover art comes from acclaimed artist and printmaker, Norman Ackroyd.
- European AV 'Dawn Chorus' Tour starts November 20th 2017.
- Radio support for 'Dawn Chorus' from Lauren Laverne (BBC 6Music), Nemone (6Music), Huey Morgan (BBC 6Music), Gideon Coe (BBC 6Music), Jamie Cullum (BBC R2) + more
- Previous press support from The Arts Desk, Clash, The Independent, The Guardian, Line Of Best Fit, Blues & Soul, Record Collector, DJ Mag

Praise for the original Dawn Chorus album
You could just listen to that forevermore, couldn't you' MARY ANNE HOBBS (BBC 6MUSIC)
Such a beautiful project' - LAUREN LAVERNE
Out of this world' - THE LINE OF BEST FIT
Gorgeous' - NEMONE (BBC 6MUSIC)

We started with the principle - the cosmic idea that we were taught by our father from a very young age - that the stars and planets make a sound, that deep in outer space there is audible harmony.'With its cathedral-like, richly resonant acoustics, the new HBE album is a brilliant expression of this interplanetary principle. The album is by turns urgent and contemplative, funky and reflective, varied in its textures, but entirely of one piece. Underpinned by concepts of our earth's place in the cosmos, held in place by meditation, swirling with notions of history, science, theology, ancestry, there is a rich conceptual brew here. But always, what talks loudest is the music. The album rings with what back in the 1950s the jazz critic Whitney Balliet called the sound of surprise'. At a time when the phrase Spiritual Jazz threatens in some quarters to become a tired cliche, this is a record that makes you believe again in the genre's validity.

Talking to Cid, one of the Ensemble's two trombonists, one phrase recurs: back to the beginning'. We wanted to go back to the beginning, when we were kids, real young, and our father would wake us up at 5 AM to practice for two hours before breakfast.' One outcome - initially unplanned but subsequently embraced - is that unlike their two previous albums on Honest Jon's, this is an album without a drummer. When we started, as Wolf Pack, just brothers on the street with our horns, there wasn't a kit in sight.' Book Of Sound retains plenty of rhythmic heft, but the absence of a drummer opens up space for a notably varied instrumental palette. Acoustic guitar, piccolo, synthesiser, alto sax - none of them typical HBE Instruments - all have their place on the album. Most striking perhaps are the vocal lines that thread through the album and give it a palpable warmth. In Wolf Pack, we rapped and played, this time we took it a step further.'

Sessions were recorded in Brooklyn and Chicago, and brilliantly mixed at Abel Garibaldi's studio in the Loop ( Abel was like a musician on this record'), and it's the Hypnotic's hometown that permeates. For Cid this is a deeply Chicago record: it's got the vibe of the lake, the vibe of the prairies opening up to the west'. It also has the vibe of those Sun Ra Arkestra albums recorded in Chicago in the 1950s, and - of course - the Phil Cohran albums from the 1960s.

It's Phil Cohran (the father of all seven members of the Ensemble and their first teacher, and not just in music) who is the album's guiding spirit. For Cid it's a major regret that, in the months before their father's death early in 2017, Phil was not well enough to play on the album. He loved the whole idea, and we had the perfect place for his zither'. But Book Of Sound is a magnificent testament to their Cohran legacy. You know, it's tough trying to satisfy everybody with our music. It's hard enough satisfying ourselves, let alone the jazz scene, the hip hop guys, what have you. With this album we just dropped all that as a consideration, and tuned into deeper principles.'